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Gabriela Ligenza Hats

Combining contemporary, sculptural shapes with a softness and femininity that is eminently flattering to the wearer, Gabriela Ligenza's impeccable taste is evident in each of her handcrafted designs.  Works of art in their own right, Gabriela describes her hats as being "like sculptures on the move".  Her training as an architect and interior designer can be seen in her eye for detail and her love of textures, mixing them together with a wonderfully sophisticated colour palette.

Gabriela's stunning creations have graced the heads of royals, movie stars and fashion conscious women for 25 years throughout the world.  Working between Italy and London, Gabriela's Ellis Street boutique, just around the corner from Sloane Square, provides a chance to experience expert personal advice on choosing the perfect hat to compliment your outfit for every occasion.  Whether you want a head turning hat for the Summer Season, or an elegant hat for a Winter wedding, or if you are in need of casual straw sun hats and cosy cashmere braid cloches, Gabriela has a breath taking selection of one off and limited edition pieces to choose from.

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A Generational Divide Worn on Their Heads

Monica Moss wearing one of her great-aunt’s hats at Trinity United Church of Christ in Chicago. CreditNathan Weber for The New York Times

When Lydia Calviness died two years ago at the age of 93, she bequeathed her church hats to her grandniece Monica Moss. Genealogically speaking, Ms. Moss did not qualify as the closest female relative. Ms. Calviness had arranged the inheritance because Ms. Moss, like her, was what the lexicon of black Christianity calls a “first lady” — the pastor’s wife.

Touched as she was by the gesture, Ms. Moss fretted about what to do with those dozen hats. Felt and wool and straw, pink and green and gold, adorned with bands and flowers, they typified the kind of grand headwear known in the black church as a “crown.” More than any article of female attire, such a hat served simultaneously as fashion statement, religious obligation and emblem of self-worth.

The quandary for Ms. Moss was that, while she hallowed the tradition, she did not personally adhere to it, at least not on a regular basis. A half-century younger than her great-aunt, Ms. Moss stood on the opposite shore of a generational divide among black churchwomen, part of a younger cohort that considers the crown optional or even irrelevant to its worship experience.

“Hats are far more nostalgic than practical in my life,” said Ms. Moss, 43, an educator and health coach whose husband, the Rev. Otis Moss III, leads the 8,000-member Trinity United Church of Christ in Chicago. “On my great-aunt, they looked like what she should be wearing. It was about looking royal and regal and appropriate. On me, when I do try to wear them, people think I’m trying to be edgy and vintage. It doesn’t have the same impact.”

More to the point, making the same kind of impact may not matter as much to African-American women from their 20s through middle age even as they prepare for Easter. Changes in education, economics, hairstyles and church aesthetics have all diminished the once-essential role of the church hat.

The scriptural basis for the tradition resides in I Corinthians 11, which declares that “every woman who prays or prophesies with her head uncovered dishonors her head” (New International Version). Even more relevant for African-Americans of both genders was the pervasive degradation and humiliation inflicted upon them by slavery, segregation and racism. To get decked out for church — suit, tie and pocket square for a man; stylish dress and coordinated hat for a woman — was to assert one’s dignity as a citizen and one’s value as a child of God.

Given such a profound purpose, it is hardly surprisingly that the church hat became staple in all its swooping, feathered grandeur. The 2000 photo book “Crowns: Portraits of Black Women in Church Hats,” featured a foreword by Maya Angelou and was adapted for the stage by Regina Taylor. The collection of the National Museum of African American History and Culture, which will open this year, includes several dozen hats made by the renowned Philadelphia milliner Mae Reeves.

Outside museum doors, however, the atmosphere around the black church has been shifting. The educational and professional opportunities opened up by civil rights legislation and the diversity movement have meant, for an increasing number of black men and women, that dressing up is now a Monday-through-Friday requirement, not a Sunday morning ritual of auto-emancipation.

That transformation can be distilled into the experience of Kimberla Lawson Roby, the author of a best-selling series of novels about a black pastor. Ms. Roby’s grandmother, Mary Tennin, grew up in Mississippi as a sharecropper with a sixth-grade education. Moving in her 50s to Illinois, where Ms. Roby was raised, Ms. Tennin never went to church without a hat. Ms. Roby, on the other hand, does not even own one.

“By the time I began working in corporate America after college, when my grandmother was still alive, I was wearing a suit to work every day,” said Ms. Roby, 48, whose latest novel, “The Prodigal Son,” will be published next month. “And if I wore one to church, my grandmother would look at me as maybe that’s not fancy enough. She felt if I am O.K. for getting dressed up to go to work every day, then I should dress even better for worshiping God.”

The Rev. Suzan Johnson Cook, 57, one of the nation’s leading black female ministers as well as a former diplomat on religious freedom for the Obama administration, recalled that about 80 percent of the churchwomen during her New York childhood wore hats.

“We used to choose our seat by what the size of the hat in front of us was,” she said, “to make sure you could see the pulpit.”

Yet in the churches that she has pastored during the last 20 years, probably 80 percent of women did not wear hats. One of Dr. Cook’s ministerial specialties was a noontime midweek service in Lower Manhattan, which drew worshipers from Wall Street, law firms and municipal offices, where business attire prevailed.

At the church Dr. Cook now attends in suburban Washington, the pastor called for a “dress-down Easter” this year to keep the attention on faith rather than fashion.

“We’ve tried to be a generation,” she said, “about what’s on the inside, not what’s on the outside.”

The fashion impulse has not vanished; it has taken a different form. Black women tend to treat their hair rather than their hats as an artist’s canvas. And having spent hundreds of dollars on braids or extensions, sometimes upward of a thousand on elaborate weaves, younger black women want the handiwork visible. In their way, they are simply abiding by a piece of black folk wisdom: “Don’t hide your light under a bushel basket.”

Purveyors of the classic church hat do remain. One of them is the Harlem’s Heaven Hat Boutique, where the owner, Evetta Petty, pronounced business brisk heading into Easter. These days, women buying her church hats (priced from $49 to $800) have a newly prominent, highly visible inspiration, Ms. Petty reported.

No, the role model for millinery is not Michelle Obama. The nation’s first lady has been regularly photographed going to church hatless. But since theroyal wedding three years ago, Ms. Petty said, “It’s very interesting to me that young black women are coming in now and wanting that Kate Middleton look for going to church.”

Thank you to the New York Times, Click Here.

Rabbit fur hat fit for a duchess by F Kerr

THE KATE: Pirongia hat maker Monika Neuhauser has created a headpiece to commemorate the royal visit.

Jackie-O had the Pill Box hat, former Libyan dictator Muammar Gaddafi sported the checheya hat and now a Pirongia hat maker is creating a new sensation she calls "The Kate".

The Kate is a peacock blue, button hat created as a commemorative piece for the royal visit, named after the Duchess of Cambridge.

Monika Neuhauser, who owns Monika Neuhauser Miller, a business that creates ready to wear and custom made hats and headpieces, said her creation was fitting for a princess.

"Once the shape came, that's when it all fell into place," she said.

"I thought that it would look nice on the duchess."

Neuhauser put her creation online and received 30 likes, with her Facebook fans encouraging her to give the hat to Kate.

"I'm considering sending it to her, I think I've left it a bit too late for her to wear in New Zealand."

The Kate is made from rabbit fur felt, then steamed into place.

The type of hat, which is inspired by a button, is held in place with an elastic band and is a popular choice of head wear at cocktail parties.

The passionate hat maker, who has worked in the industry for eight years, knows that her small boutique business could change overnight if the princess is snapped wearing "The Kate".

"I've seen it with other fashion designers as soon as someone famous wears their clothes they become very popular," she said. "If Kate wore the hat, anything could happen."

Meanwhile, Cambridge high-end fashion shop Maddisons owner Kay Kirkbridge said business had been good since the royal arrival, with their red winter coats walking out the door.

"We have seen sales increase for our New Zealand label - Fredrick, quality, fully-lined red winter coats, similar to Kate's." Kate wore a double-breasted red Catherine Walker dress and coat, with matching Gina Foster pillbox hat, arriving in Wellington on Monday.

Hamiltonians only have a few days left to prepare their wardrobes as the Duke and Duchess arrive in the city this Saturday.

Thank you to Stuff.co.nz, click here.

The Duchess of Cambridge, Victoria Beckham and Sarah Jessica Parker, faithful followers of Irish designer Reach Madrid Philip Treacy headdresses, preferred by celebrities

Designs with lots of art

Philip Treacy is undoubtedly the designer played with internationally acclaimed.

The women of the royal family and the most famous British it girl are true to their creations; among its fans are Kate Middleton, Sarah Jessica Parker, Victoria Beckham and Paris Hilton.

Born in Ireland in a very large family, from small Philip Treacy loved fashion . He studied design in Dublin at the National College of Art and Design and later did a master at the London Royal College of Art, where he met Isabella Blow, famous editor of fashion who commissioned the hit of your wedding and introduced him to Karl Lagerfeld, with which he made ​​some of his collections.

From there his entire career has been rising.

Now we finally get closer to their designs. In the English Court of Serrano can be found in the most exclusive models ideal for our weddings and events will also be filled with glamor and art.

Philip Treacy finally arrives at Madrid Philip Treacy finally arrived in Madrid, Tendencias.-Economics and Business Expansión.com

The exclusive headgear of the prestigious Irish designer are finally available in the center of Serrano El Corte Ingles. Treacy is the favorite of the Queen of England, Kate Middleton or Sarah Jessica Parker.

Organic and unpredictable figures, hats resounding aristocratic ... The designer played with greater international prestige finally arrived in Madrid, for happiness wedding and patriotic events. Specifically Serrano center El Corte Ingles, where her designs can be purchased exclusively. Daphne Guinness with Philip Treacy for Vogue Treacy, began designing dolls for her sister, has dressed the most famous heads of monarchies around the world, ladies of the aristocracy and celebrities. Among his regular customers, are Queen Elizabeth II, Kate Middleton, Princess Diana, Camilla Parker-Bowles, Grace Jones, Sarah Jessica Parker, Victoria Beckham and Lady Gaga. So much so that in 2007 he was awarded the OBE for services to the fashion industry of the country. He has collaborated with other great designers such as Karl Lagerfeld, Alexander McQueen, Armani and Valentino.

Thank you to Expansion, Click Here.

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